BBC Sherlock Season 1 Behind the scenes documentary and interviews with cast and creators
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00:00www.feyyaz.tv
00:30This all began on the train to Cardiff, appropriately enough,
00:33because Mark and I were both working on different episodes of Doctor Who.
00:36And we sat on the train together, we always get the same train together so we could chat.
00:39And we talked about our other great obsession, which was Sherlock Holmes.
00:43The name Sherlock Holmes and the address is 221B Baker Street.
00:47We did this little dance, not literally, in the compartment,
00:52around the fact that our favourite Sherlock Holmes is still the Basil Rathbone,
00:59writer Bruce movies of the 30s and 40s.
01:02We thought they were actually rather more fun, and in certain ways,
01:05in certain tonal ways, in certain humorous ways,
01:09truer to the originals than many grander and more important film versions.
01:12And what we kept saying to each other was, you know,
01:15someday someone is going to think of doing that again.
01:17Someday someone is going to do Sherlock Holmes and Doctor Watson in the modern day.
01:22And we thought, and we'll feel so cross, because we should have done it.
01:25And we had this conversation, I don't know, 20-odd times probably, over years.
01:29And then suddenly it kind of, it formed very quickly,
01:31the idea, and a very exciting train journey, in a very Sherlock Holmes way.
01:35I'm sure that we were sitting either side of a compartment going like that.
01:39It was a proper Sherlock Holmes journey.
01:41The idea of blowing away the fog from it.
01:46And I once mentioned it to my wife, Sue, who said, well, why don't you do it?
01:52And it was a kind of lightbulb moment of like, you know,
01:55we should just do this present day.
01:58And that's when it properly began.
02:00We actually started focusing on putting it together,
02:02as opposed to be mourning the fact that someone else was bound to do it first.
02:06You read his blog?
02:17Of course I read his blog, we all do.
02:26You've brought me here to send a text.
02:28It seemed to us, and this is just our point of view,
02:37that it's become so much about the trappings,
02:40about the handsome cabs, the costume, the fog.
02:43Jack the Ripper will creep in here.
02:45It's become a sort of strange maelstrom of stuff.
02:49There's a wealth of Victorian Sherlock's out there, and I love them.
02:53I mean, there's tons of them.
02:55Why don't I just try it in the modern day and see how it works?
02:58And I think the clinching moment for both of us
03:00and for everyone else we've spoken to was
03:03when we realised, if we took the story from the beginning,
03:06that the original stories began with Dr John Watson
03:08being invalided home from Afghanistan.
03:11And we realised, well, of course, that could happen just as easily today.
03:14What's up?
03:16What's up?
03:21The best, the best, the best, the best.
03:25Watson, in this scenario, it's the same in the book.
03:28He comes back from Kandahar, from war,
03:31but rather like a lot of the clever adaptations,
03:33what's changed about it is obviously it's a modern context.
03:37So instead of writing a journal, he's keeping a blog.
03:39I think one of the fun things is, as you update it,
03:41as you find each equivalent, you think, well, you know,
03:43I remember Mark thinking, well, he wouldn't write a journal, no, would he?
03:45He wouldn't write memoirs, he'd write a blog.
03:48And suddenly you realise, of course, that tells you what memoirs were.
03:50They were blogs.
03:51And he wouldn't have teams of homeless children,
03:54he'd have homeless people on the streets,
03:57I think the big issue.
03:58Best thing, sir.
03:59Don't mind if I do.
04:00You're right here.
04:04In a way, it allows you to see the original stories
04:06the way the original reader would have read them,
04:09as, you know, exciting, cutting-edge contemporary stories,
04:13as opposed to these relics that they've become.
04:15And it's just endless fun to take the little details
04:19and realise how easily, how neatly, they update.
04:23Expo-cassion, come on, 6-5.
04:27Action!
04:28PHONE RINGS
04:30Hello.
04:37Hello.
04:39Sexy.
04:41Who is this?
04:43I've sent you a little puzzle
04:48just to say hi.
04:51Who's talking?
04:52Why are you crying?
04:55I'm not...
04:56I'm not crying.
04:58I'm typing.
05:00And this stupid bitch
05:05is reading it out.
05:08I suppose one should feel extra pressure
05:12if you're adapting or working on something
05:14that you've always loved.
05:16But the truth is,
05:17that is so completely blotted and obscured,
05:20but the fact,
05:20it's, oh, it's our turn.
05:21We get to do it now.
05:22It's me and Mark doing our Sherlock Holmes series.
05:25And we still giggle like schoolgirls
05:26that we've got this.
05:28So, yeah, the pressure's there.
05:30The pressure's always there.
05:31Who cares about pressure?
05:31It's the fun,
05:33it's the absolute joy
05:34that 221B Baker Street
05:35is our address
05:36just for this little while.
05:38And that's too exciting
05:39to be worried about the pressure.
05:44I think that sometimes,
05:48as with James Bond,
05:49there are sort of half a dozen possible Bonds.
05:52Sometimes there's just one.
05:53And Benedict just sort of
05:55leapt into our mind.
05:57Benedict was a hugely simple decision for us.
06:02Soon as we were watching the film Atonement,
06:04we saw Benedict Cumberbatch
06:05and we were thinking,
06:06oh, he looks like a Sherlock Holmes.
06:08Mark knows Benedict.
06:10He instantly thought that was a good idea.
06:11So we just sent the script to him
06:13and he came in and read for us.
06:15And we all thought,
06:16well, it's just not going to get better than that, is it?
06:18That's perfect.
06:18And we cast him.
06:19He is the only person
06:21ever to have been sent that script
06:23for the part of Sherlock Holmes
06:24and the only person to have auditioned for it.
06:25So it was as simple as that.
06:27There's a huge honour
06:28to be asked to play that in the first place.
06:31But you have to be careful.
06:32Your vanity can trick you
06:33into taking the wrong job sometimes.
06:34So you always read the script.
06:37I mean, that's the main thing you go to.
06:38And they're just, they're sublime.
06:39It's a murder.
06:41All of them.
06:42I don't know how,
06:43I don't know how,
06:43but they're not suicides,
06:44they're killings.
06:46Serial killings.
06:46We've got a serial killer.
06:48Oh, I love those.
06:50Something to look forward to.
06:52It's a wonderful combination
06:53of playing a hero
06:55who is a faulted human being.
06:59There's an awful lot of him
07:01that is dangerous and perverse
07:06and interesting
07:06and great stuff
07:08to get your teeth into as an actor.
07:09And at the same time,
07:10he is, you know,
07:11a class A hero, you know.
07:13Sorry, Mrs. Hudson,
07:14I'll skip the team.
07:15Off out.
07:16Both of you?
07:18Impossible suicides.
07:19Four of them.
07:20There's no point sitting at home
07:21when there's finally something fun going on.
07:23Okay, you're all happy.
07:24It's not decent.
07:25Who cares about decent?
07:27The game, Mrs. Hudson, is on.
07:30Casting John Watson
07:31was a much longer process
07:33because I think once you've got
07:34one side of the partnership,
07:38you've got to find the fit.
07:39The clincher with Martin was
07:41the chemistry was instant.
07:44You know, Martin's presence in the room
07:46changed the way
07:47Benedict played the part.
07:49It was, again,
07:50a very, very easy decision.
07:51When you saw them standing together,
07:52you said, well,
07:53oh, well, that's a television series
07:54right there.
07:56What's this about?
07:56The case?
07:57Her case.
07:58Her case?
07:58A suitcase, yes, obviously.
08:00The murderer took her suitcase
08:02first people's name.
08:03Okay.
08:04He took her case, sir.
08:05There's a phone number on my desk.
08:10I want you to send a text.
08:12I suppose, like,
08:12with John and Sherlock,
08:15chemistry either happens or not
08:17and you can't really manufacture it
08:18and you can't really
08:19do anything but hope
08:21it's going to happen.
08:22You're a doctor.
08:24In fact, you're an army doctor.
08:27Yes.
08:29Any good?
08:32Very good.
08:32I've seen a lot of injuries then.
08:35Violent deaths.
08:37Oh, yes.
08:38Bit of trouble too, I bet.
08:40Of course, yes.
08:42Enough for a lifetime.
08:43Far too much.
08:45Want to see some more?
08:46Oh, God, yes.
08:49And I'd like Benedict
08:50from a distance.
08:52I'd liked his work
08:52for a long time
08:53and I was looking forward
08:55to working with him
08:57but then there's no guarantee
08:58that you'll still work well together
08:59and thank God we have, really, you know.
09:02Because, yeah,
09:03we're two quite different people
09:04with, I guess,
09:05we're quite different actors.
09:07I think we sort of
09:08want to arrive
09:09at the same place
09:09which is hopefully
09:11not too showy,
09:13not too, uh,
09:16hammy.
09:16I think there's a friendship
09:19instantly
09:19between Martin and Benedict.
09:22They're not at all
09:22like the parts they play
09:23at all, really,
09:25but the relationship
09:26between them
09:26really informs
09:28the much pricklier
09:29on-screen relationship
09:30because, obviously,
09:30Sherlock's
09:31a quite cruel man at times
09:33and John's
09:34a put-upon man at times
09:35but,
09:35and you won't buy that,
09:37you won't enjoy that
09:38unless you absolutely feel
09:39in every scene
09:39and every heartbeat
09:40that there is that proper
09:42underlying warmth,
09:43that real, proper,
09:45solid friendship
09:46and that friendship
09:47has actually happened
09:48between Benedict and Martin
09:50and that's what,
09:50the value of that
09:51you get on-screen.
09:52It's such a close relationship,
09:54Watson and Holmes
09:54and I think
09:55for all their adversary
09:57and the prickliness
09:57of Holmes
09:58and how that does
09:59often come,
10:00well, sometimes
10:01come to a crisis
10:02at least with
10:03Watson and Holmes,
10:04in order for that
10:05to really work on-screen
10:06it's got to be
10:07with two actors
10:08who get on very well.
10:09Sorry, what?
10:09There are lives
10:10at stake,
10:12Sherlock.
10:13Actual human life.
10:14Just so I know,
10:15do you care about that at all?
10:16Well, caring about them
10:17helps save them.
10:18Nope.
10:19Then I'll continue
10:19not to make that mistake.
10:20Oh, you find that easy,
10:21do you?
10:21Yes, very.
10:23Is that news to you?
10:24No.
10:25No.
10:29I've disappointed you.
10:30It's good.
10:31It's a good deduction, yeah.
10:33Don't make people
10:33into heroes, John.
10:34Heroes don't exist
10:35and if they did,
10:36I wouldn't be one of them.
10:37Conan Doyle's genius
10:38in creating those characters
10:39is the friendship between,
10:41the unlikely friendship
10:42between Holmes and Watson.
10:45Sherlock Holmes and John Watson
10:47are a fantastic pairing.
10:49They are, in many ways,
10:52not quite chalk and cheese,
10:54but they complement each other,
10:55really.
10:56It's not a thing of difference
10:57being a problem,
10:58it's the thing that allies them.
11:00They are the missing half
11:02of either party.
11:04Well.
11:05What am I doing here?
11:06Helping me make a point.
11:07I'm supposed to be
11:08helping you pay the rent.
11:09Yeah, well, this is more fun.
11:10Fun is a woman lying dead.
11:13Perfectly sound analysis,
11:14but I was hoping
11:15you'd go deeper.
11:16Unbeknown to them,
11:17like any sort of
11:17great relationship
11:19or any great chemistry,
11:20without knowing it,
11:21they realise
11:21they've met the right person.
11:22Sort of by the end
11:23of the first night
11:24they've spent together
11:25hanging out,
11:25they realise that
11:26they're going to be
11:27very, very good friends,
11:28you know,
11:28because they're a perfect
11:29foil for each other.
11:30John is, in a way,
11:32he's like Sherlock's
11:33kind of moral compass
11:33because Sherlock's mind
11:35is so genuinely brilliant.
11:37He doesn't always
11:37stop to consider
11:38the why's and wherefores
11:40or the rights and wrongs
11:41of what is.
11:42And John is kind of like
11:43his moral barometer there.
11:46And he's a more decent person
11:47in a way than Sherlock
11:48because he's more normal.
11:50You know,
11:50Sherlock is genuinely extraordinary.
11:51We wanted to fetishise
12:00modern London
12:01in the way, I suppose,
12:02that the period versions
12:04fetishise Victorian London.
12:13Episode 2,
12:14which is largely set
12:15in the city,
12:16we wanted to capture
12:17the look of, like,
12:18the gherkin
12:18and all those kind of
12:19big glass and steel
12:21cathedrals of finance.
12:23It's part of a vibrancy,
12:24you know,
12:25which is very exciting to see.
12:32Why have we come to London?
12:34Well, because
12:34Cardiff has
12:36incredible
12:37shootability,
12:39the word I've just coined,
12:40for all kinds of things,
12:42particularly
12:42this used theatre space
12:44is an amazing,
12:45epic-looking place
12:46and also some great matches
12:48for parts of London
12:50but obviously
12:51there are certain things
12:53like the architecture
12:54of Baker Street
12:54which you can't really fake.
12:58The whole point is to
12:59reinvent Sherlock Holmes
13:01as a modern man.
13:03We want his London
13:04to be a vibrant
13:06and sort of
13:07thrilling place
13:08so we want to have
13:08as much of the benefit
13:10of these locations
13:11as possible.
13:12Back round, action!
13:14Action!
13:15Action!
13:30Hello.
13:31Ah,
13:32Mr. Holmes.
13:33Sherlock, please.
13:35Oh, this is a prime spot.
13:37Must be expensive.
13:37Oh, Mrs. Hudson,
13:38the landlady,
13:39has given me a special deal.
13:40Owes me a favour.
13:41A few years back
13:43her husband got himself
13:43sentenced to death
13:44in Florida
13:45and was able to help out.
13:47Sorry, you stopped
13:47her husband being executed?
13:49Oh, no, I insured it.
13:53Sherlock.
13:54Mrs. Hudson,
13:55Dr. John Watson.
13:56Hello.
13:57Come in.
13:58Shall we?
13:59Yeah.
13:59Today, we're in the middle
14:11of the city
14:13and this is our
14:14Shad Sanderson bank.
14:19Everyone's seen
14:19a Sherlock Holmes.
14:20I think what's different,
14:21you've never seen
14:21Sherlock Holmes
14:22in this scenario
14:24with escalators,
14:25with modern technology.
14:27I mean,
14:27the whole soul of it,
14:29I think is the same
14:30and true
14:30to the original
14:31Sherlock Holmes stories,
14:32but it just has
14:34this modern twist
14:34and it's,
14:36and taxis
14:37and London buses
14:38and just this
14:39huge expanse.
14:41The more modern
14:42things around,
14:43I think the better
14:43it sort of works,
14:45really, for us.
14:48Two operatives
14:49based in London.
14:50Both travel to Dallion
14:51where they smuggle
14:51those vases.
14:52One of them helps
14:53himself to something,
14:53a little hairpin.
14:55Worth nine million pounds.
14:56Eddie Van Coombe
14:57was the thief.
14:58He stole the treasure
14:59when he was in China.
15:00How do you know
15:00it was Van Coombe,
15:01not Lucas?
15:02Even the killer
15:02didn't know that.
15:03Because of the soap.
15:07I think the original script,
15:09there's pages and pages
15:10at the beginning
15:11where I try to describe
15:12this building
15:13and say it was great
15:14for me walking in it
15:15this morning
15:15and actually seeing
15:16the location they picked.
15:17I'd not seen it before.
15:18They told me
15:19they were coming
15:19to Tower 42,
15:20but I'd not seen it before.
15:21So when I came in
15:22this morning and saw it,
15:23and I remembered
15:24six months ago
15:25writing this very vivid
15:26visual descriptions
15:27to what it was going
15:28to be like.
15:29It was great
15:29to finally see it
15:30for real
15:31and see what they'd chosen.
15:34It's when you said
15:35we were going to the bank.
15:37And really what we're
15:38just doing
15:38is to give a real sense
15:39of London and size
15:41and things.
15:41So the last few days
15:42we've been here
15:43and we've been
15:43Trafalgar Square.
15:46You need advice?
15:47On painting, yes.
15:48I need to talk
15:49to an expert.
15:49It's just the scale
15:51of London
15:51that you get
15:52from Trafalgar Square
15:53and walking up
15:53towards the gallery
15:54and everything
15:54that you just can't get
15:55anywhere else really.
15:58Chinatown.
15:59OK, just make sure
16:00where B camera's set up
16:02don't skewer
16:03our eye line
16:04to Sarah.
16:05I've been to
16:06Hungerford Bridge.
16:08Tuesday morning.
16:09All you've got to do
16:10is turn up
16:10and say the bag was yours.
16:12Forget about
16:12your court in case.
16:13We've been to
16:16Shaftesbury Avenue.
16:20Right.
16:21Van Kuhn
16:21came here
16:23on the day he died
16:24with a package
16:25whatever was hidden
16:25inside that suitcase.
16:27I pieced together
16:28his movements
16:28using scraps of information.
16:30Sherlock.
16:30Card bills, receipts.
16:32He came here
16:32after he got back
16:33from China.
16:34Sherlock.
16:35Somewhere in the street.
16:36Somewhere near.
16:37I don't know where
16:37but that shop
16:39over there.
16:40How do you know?
16:41Look at his diary.
16:42He was here.
16:43He wrote down the address.
16:43We wanted to show
16:48London not just
16:49the normal
16:49location.
16:51So there's some
16:52big, big locations
16:53that they're seeing.
16:54John, I want you to go up
17:15onto the railway line.
17:16I think it looks like
17:17the same colour.
17:18We're going to decipher
17:19this language.
17:19We're going to need
17:20a lot more evidence.
17:21It's been really interesting
17:23for me seeing the locations.
17:25Some very unusual ones.
17:28I mean, one of the films
17:29is particularly about
17:31codes and ciphers
17:33and they're painted
17:33in different places
17:35like clues.
17:36Very odd tunnels
17:37we went into
17:38right on the South Bank
17:40for example.
17:41You realise you live
17:42in London
17:42and half the time
17:43you don't know it at all.
17:44I was just staggered
17:45when I saw these things.
17:52The first thing we made
17:53wasn't any of these
17:54three movies.
17:55The first thing we made
17:55was a pilot.
17:57The name's Sherlock Holmes
17:58and the address
17:59is 221B Baker Street.
18:02Afternoon.
18:02Now this pilot
18:03wasn't intended
18:04as a pilot
18:04it would have been
18:05intended to be
18:06the first episode
18:07of our
18:07Sherlock Holmes
18:09television series
18:09but it was 60 minutes
18:11long because that
18:11was the plan.
18:13And the BBC
18:13liked it so much
18:15they said
18:15well we want
18:16390s now
18:17but the thing
18:18about that
18:19is you can't
18:20simply bolt on
18:22another half hour.
18:23What we had to do
18:24really was to
18:24sort of make it
18:25from scratch.
18:26I mean,
18:26Coco Giedroy
18:26who did the pilot
18:27and did a fantastic
18:29job of it
18:29but once you start
18:31pulling things apart
18:33you really have
18:34to start again
18:35because you know
18:35every scene
18:37is probably
18:37somewhere else.
18:39John!
18:40John Watson!
18:44Stamford!
18:46Mike Stamford!
18:47What?
18:47We were a boss together.
18:48Yes.
18:49Sorry, yes, Mike.
18:50Hello.
18:50Yeah, I know.
18:52I've got fat.
18:53John!
18:54John Watson!
18:57Stamford!
18:58Mike Stamford!
18:59We were a boss together.
19:00Yes, sorry, yes.
19:01Mike, hello.
19:02Yeah, I know.
19:03I've got fat.
19:03One of the advantages
19:04of making a pilot
19:05is that you can
19:07make the series right.
19:08That means you can
19:09look at a pilot
19:09and a pilot is
19:11changeable.
19:12You can alter it.
19:13You can say
19:14let's change that set,
19:16let's alter that location.
19:17You can say
19:17any of those things.
19:18It might seem wasteful.
19:20It truly isn't.
19:20It's the biggest
19:21saving you can make
19:22is to have an effect,
19:23a test flight
19:24and see what this show
19:26looks like
19:26if it's actually made
19:27as opposed to
19:28as opposed to the theory.
19:30So the shooter's
19:31not one of yours then?
19:32God, no,
19:32we didn't have time.
19:34A guy like that
19:34would have had enemies,
19:35I suppose.
19:36One of them
19:36could have been following him.
19:39Whoever it was
19:39who was gone
19:40by the time we got there
19:41and we'd got nothing
19:41to go on.
19:42I wouldn't say that.
19:44By the time
19:45you've got a different
19:46DOP,
19:48we've got a different camera,
19:49which is
19:50a far superior camera
19:51to the one
19:52that we could
19:52use or afford
19:53in fact
19:54on the pilot.
19:56It just won't match.
20:03Hello?
20:05How do you make them
20:06take the poison?
20:09What?
20:10What did you say?
20:11I said,
20:12how do you make them
20:13take the poison?
20:14Oi, who are you?
20:15Sherlock Holmes.
20:18Do a lot of drugs,
20:19Sherlock Holmes?
20:20Not in a while.
20:21I ask because
20:22you're very resilient.
20:23Most people
20:24would have passed out
20:25by now.
20:32Taxi for Sherlock Holmes.
20:37I didn't order a taxi.
20:40Doesn't mean
20:40you don't need one.
20:42You're the cabbie.
20:44The one who stopped
20:46outside Northumberland Street.
20:52It was you,
20:54not your passenger.
20:56See, no one ever
20:56thinks about the cabbie.
20:59It's like you're invisible.
21:01Just the back of an head.
21:03Proper advantage
21:04for a serial killer.
21:06So even if there were
21:07a couple of scenes
21:08where we had to say to them,
21:10you couldn't just do
21:12what you did
21:12on the pilot,
21:13could you?
21:14Because, you know,
21:17a lot of it did work,
21:18but it was just easier
21:19to do it,
21:20to shoot it all again,
21:20really.
21:21You rarely get the chance
21:22to have another go
21:23and there are all kinds
21:25of little things
21:26that we've been able
21:28to have another look at.
21:30Baker Street itself,
21:32the interior of Baker Street.
21:42Well, this could be very nice.
21:44Oh, very nice indeed.
21:46Yes, I think so.
21:48The final scene,
21:48for instance,
21:49in episode one,
21:50which originally took place
21:51in 221B,
21:52now doesn't.
21:53So a lot of the scene
21:54is the same,
21:55but it now takes place
21:56somewhere else.
21:58My flood.
21:59Of course it is, yeah.
22:01Found your keys
22:02in your jacket.
22:03I thought, well,
22:03why not?
22:06People like to die at home.
22:15Where are we?
22:17You know every street in London.
22:19You know exactly where we are.
22:21Ronan Kerfurther Education College.
22:24Why here?
22:25It's open.
22:27Cleaners are in.
22:29One thing about being a cabbie,
22:30you always know
22:31a nice quiet spot for a murder.
22:33I'm surprised more of us
22:34don't branch out.
22:35The one thing
22:36that really, really
22:37was significant for us,
22:38a real moment for us,
22:39being noticed
22:39that the scenes
22:40that were at best
22:40in that pilot
22:41was where the modern world
22:44was really, really apparent,
22:45was really surrounding
22:46our characters.
22:48So, ran after a cab.
22:50I told you
22:50that name was psychosomatic.
22:52I knew it was.
22:54You get shot, though.
22:55Oh, yeah.
22:56In the shoulder.
22:57If you stand
22:58Benedict and Martin
22:59in the half-light
23:00against a Victorian wall,
23:01you wouldn't know
23:02it had been updated.
23:03We sort of have
23:03an idea now
23:04that you really should know
23:05in every shot
23:06that this is
23:07a modern-day Sherlock Holmes
23:08because that's where
23:09the show has the most energy
23:11and is the most exciting.
23:13221B Baker Street
23:20is a very, very famous address,
23:23so it's quite a thrill
23:24when you sort of step
23:25onto that set
23:25for the first time
23:26and think, right,
23:27this is his home
23:28in the 21st century.
23:29Well, this could be very nice.
23:40It was interesting
23:41for everybody
23:42doing the interior
23:44of 221B Baker Street
23:46because, you know,
23:49we're not into gas lamps,
23:50as I've said to you.
23:51This is contemporary.
23:52This is modern day.
23:53But at the same time,
23:54you need for the
23:55Sherlock Holmes aficionados
23:58not to just lose it totally
23:59and also Sherlock,
24:02be he in the olden days
24:04or contemporary,
24:05he's still that same
24:07eccentric character
24:09and he wouldn't live
24:10in something that was,
24:12you know,
24:12too suburban
24:13or too modern.
24:16So this is all...
24:17Well, obviously,
24:17I can straighten things up.
24:19It was really
24:20sort of quite a difficult thing
24:21to get 221B
24:22exactly right.
24:25I mean, there's a...
24:25Quite often,
24:26you can go too far down the road
24:27of just being too much
24:28of a mess
24:29and you think, oh,
24:30it's like every single item
24:32they've ever owned
24:32is now stacked
24:33for you to see
24:34on every surface.
24:35That's too much.
24:36It has to be a flat
24:37that two young fellas
24:38believably would live in.
24:40The moment you bring it up to date,
24:42it sort of becomes
24:44half the familiar Baker Street
24:45and half men behaving badly
24:47because that's what it is.
24:48It is these two fellas
24:50living in a flat
24:51and putting dreadful things
24:52in the fridge.
24:59A severed head!
24:59Just tea for me, thanks.
25:01No, there's a head
25:01in the fridge.
25:02Yes.
25:03A bloody head!
25:04Where else was I supposed
25:05to put it in mind, do you?
25:06We really love
25:07the scenes that we filmed
25:09in the Baker Street
25:10studio.
25:12I love the design of it
25:14and I love the cosiness of it.
25:15It looks beautiful
25:16and you instantly feel
25:18like it's a place
25:19with history.
25:20You feel like you're moving...
25:21Because it's been so well done,
25:23it's been so well dressed,
25:24so well designed,
25:26that it's like you are
25:27going into a flat
25:28that's been there
25:28for 150 years.
25:29It's really good.
25:30It's one of those
25:31curious things
25:31when you're basing something
25:34on existing stories
25:36and a very familiar
25:38world to people.
25:40You do have to sort of
25:41create, as it were,
25:42a Bible of your version.
25:44We wanted to have
25:44things like the jackknife
25:47on the mantelpiece,
25:49which transfixes
25:50unopened correspondence.
25:52And the curious thing
25:54happened on the first
25:55day of shooting.
25:57We were dressing
25:58various things in
25:59and I spotted this picture
26:01just there
26:02where it is now.
26:04And in the original stories,
26:06Dr. Watson
26:08has an unframed picture
26:11of a man called
26:12Henry Ward Beecher.
26:14This is not Henry Ward Beecher,
26:15but it's a complete coincidence.
26:18The props people
26:19are just dressed
26:20in an unframed picture
26:21and I said,
26:21oh, leave that.
26:22That's like a little
26:23accidental reference.
26:27And obviously,
26:28through there in the kitchen,
26:30which Sherlock has
26:31just completely converted
26:32into his laboratory,
26:34we've got a lot of
26:35microscope equipment
26:36and test tubes
26:37and stuff like that.
26:38It would be no accident
26:39to open the margarine tub
26:42and find a severed finger
26:44in there.
26:45His experiments
26:46kind of creep out
26:47into the rest
26:48of everybody's life.
26:50And I think
26:51it's quite a funny thing,
26:52the idea that they
26:53are flatmates
26:55and they're supposed
26:55to be, you know,
26:56two units,
26:57but Sherlock's interests
26:58and obsessions
26:59just sort of spread out
27:01like a mould
27:01through the house.
27:04Sherlock,
27:04the mess you've made.
27:06Today, we're doing
27:17the music for episode one.
27:19So what they've done,
27:20David and Michael
27:21have done a bass line
27:22for the music
27:23and then we're now
27:23adding all the strings.
27:25I think the first thing
27:47was just trying to come up
27:48with a sort of central theme
27:50and a character for it.
27:51You know,
27:51is there a way
27:52of playing this character
27:53that, you know,
27:54that is relevant
27:56to the movie
27:57that they've made
27:58and the character
27:58that they're making?
27:59So it's discussions
28:00with Stephen
28:01and Sue
28:02and Mark
28:03and then both,
28:06you know,
28:06myself and Michael
28:07trying to find
28:08common ground
28:09in terms of
28:10what is going to be
28:11the defining sound
28:12of this show.
28:13Here we go.
28:13Eight clicks into three.
28:15So the clicks start
28:16on the downbeat bar lock.
28:18Myself and David Arnold
28:19are the composers
28:20but we both work
28:22with fabulous assistants,
28:25programmers,
28:25orchestrators,
28:27arrangers,
28:28lots of people
28:29who all work
28:29really, really hard
28:30to make sure
28:30that when we come here
28:31for the sessions,
28:33everything's done,
28:34everything's absolutely flawless.
28:36So with the musicians,
28:37we can,
28:38because our time
28:38is very, very precious,
28:39we can just fly through things.
29:00Music itself,
29:01I think it brings
29:01the whole thing together.
29:02You do it at the end,
29:03it's very subjective
29:04as well, I think,
29:05but it really brings out
29:06the drama
29:06or the light touch.
29:15You need to know
29:16it's there
29:17without being overly
29:18aware of it
29:20unless it's the time
29:22when it's really,
29:23you know,
29:24stressful and tense
29:25where you really do
29:26want to hear that music
29:26coming through
29:27and I think there's a lot
29:28of that really exciting stuff
29:29in this one.
29:37You know what you want,
29:38I think,
29:39and sometimes
29:39when music really delivers,
29:41it's a fantastically
29:42satisfying thing
29:43that you feel like
29:44if your emotions
29:45are rising at the time
29:46that the score
29:47is taking you
29:48along that journey.
29:49The nature of the way
29:59that music's been written
30:00for this show,
30:02we have sort of
30:03certain pre-recorded
30:05synthetic elements,
30:06but I think
30:08once you put
30:09real musicians
30:10on something
30:10and it starts
30:11to come to life
30:12and has a real personality
30:13so I'm kind of,
30:16I'm very pro
30:16having real people
30:18playing music
30:19for whatever it is,
30:20whether it's,
30:20you know,
30:20like a TV show
30:21or animation
30:22or a film.
30:24You know,
30:24notes on page
30:25are fine
30:26but I think
30:26when you get people
30:27actually putting
30:28a real performance
30:29into something
30:29it can make
30:30so much difference
30:30to the way,
30:31A, the way the music sounds
30:33but also the way
30:33that you perceive
30:34the programme.
30:36You hope that the music
30:44speaks for itself,
30:44you hope that
30:45what you've written
30:46is clear enough
30:47for them just to play
30:48and for it to work
30:48but from time to time
30:50there you can,
30:53sometimes we'll just
30:54turn the screens around
30:55and go,
30:55oh it's this bit,
30:56you know,
30:56this is what's happening
30:57now and they go,
30:57oh okay,
30:58now we get it,
30:58why didn't you say?
31:01So it's a fabulous
31:02living, breathing thing.
31:06The exciting thing
31:09about Charlotte Combs
31:10is an awful lot
31:11of the way forward
31:12is already there
31:13in the stories
31:13because we've really
31:14been quite faithful
31:15in a way
31:16to lots of the
31:16ingredients in those stories
31:18but, you know,
31:19using them in new ways
31:19what would the Hound
31:22of the Baskervilles be
31:23in a modern setting?
31:25What would the Speckled Band
31:26be in a modern setting?
31:28I just think,
31:28looking at those stories
31:29and updating them
31:30and thinking,
31:31what would a haunted
31:32house be?
31:33A haunted house
31:33is a store of
31:34Sherlock Holmes
31:35but what's a modern
31:37haunted house?
31:38How would that be now?
31:40All those incidents,
31:41we've got, you know,
31:42stuff in the stories
31:42that's never been covered
31:43that Watson spends us
31:44quite a lot of the stories
31:45married.
31:46Are we going to do that?
31:46We could.
31:47We could marry off John
31:49and have him living
31:49somewhere else
31:50other than Baker Street.
31:51That's open to us.
31:52All those things
31:53are out there
31:54for us in the future
31:55and if you know
31:56you're Sherlock Holmes
31:57you'll be sort of thinking,
31:58oh,
31:58how are they going
31:59to handle that?